A PRODUCTION. OF THE PLAY OEDIPUS THE KING Thesis for the Degree of M. A. MICHIGAN STATE UNIVERSITY DAVID MICHAEL FIRESTONE 1972 W We. 0 00 0 92 P: ‘3, 6"." ABSTRACT A PRODUCTION OF THE PLAY OEDIPUS THE KING By David Michael Firestone The following is a report of a production of Oedipus the King, by SOphocles, directed as a creative thesis for the M.S.U. Theatre Department, and performed March 1-7, 1972, in the Arena Theater. The production goal was to make an ancient Greek tragedy mean- ingful and exciting to a contemporary audience. The set, lighting, costumes, blocking, interpretations, and rehearsal techniques were aimed toward that end. The play was interpreted as a personal, human experience, or a simple drama of pe0ple struggling with life's prob- lems, and rehearsed in small sections with just a few actors at a time, so that the actors could delve deeply into each moment of each character's scenes. It was important that they understand each motivation and feel comfortable with the emotions. Toward this end, sensitivity exercises, theater games, and improvizations were used to give the cast more creative unity and to make them really feel the action. The result was a sensitive performance, with a strong emotional base, shared by all the actors. The audience seemed to become deeply involved and reactions to the play were favorable. Included in this account are a rationale for selecting Oedipus, a journal of production plans, an evaluation of rehearsals, thoughts David Michael Firestone on the thesis project and the director's future growth, as well as a script, blocking notes, tape recording of the show, floor plan, and performance pictures to recapture the rehearsal and performance process. A PRODUCTION OF THE PLAY OEDIPUS THE KING By David Michael Firestone A CREATIVE THESIS IN PLAY DIRECTION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Department of Theatre, College of Arts and Letters ii TABLE OF CONTENTS Page List of Figures ...................... ......... ............ ...... iii CHAPTER I: INTRODUCTION Rationale for Selecting Oedipus ...... ..... ........... . ..... 1 Initial Production Planning................................ 2 CHAPTER II: REHEARSAL PROCESS Evaluation of Rehearsals ..... .............................. 8 Evaluation of the Designers ..... .............. .......... ...12 CHAPTER III: DOCUMENTATION OF THE PRODUCTION Rehearsal Schedule........ ......................... ........16 Floor Plan of Set........................ ....... ...........19 Revised Script and Blocking Notes.... ......... .............21 Chorus Blocking Notes......................................54 Production Photographs..................... ...... ..........58 CHAPTER IV: CONCLUSION AND EVALUATION Merits Of the PrOjeCtOOOOOOOOOOOOO0....00.0.00000000000000065 Future Directions in Self Growth.... ...... ... ..... .........66 Further Thoughts on Oedipus................................67 FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE FIGURE iii LIST OF FIGURES Oedipus and Jocasta ....................... . ........ ......59 Tiresias delivers her final prOphecy.....................59 Old Messenger greets Jocasta... ..... .....................6O Oedipus interrogates the Shepherd... .............. .......60 The chorus enacts a mime of Oedipus' life................6l Choral Messenger describes Oedipus blinding himself ...... 62 The citizens comfort the blind Oedipus...................63 As Creon watches, Oedipus holds his child................63 CHAPTER I INTRODUCTION Rationale for Selecting Oedipus Oedipus is an excellent study of human emotions and relation- ships; a sensitive, but intense portrayal of people and their prob- lems. Since the director is fascinated by pe0ple, their feelings and relationships, Oedipus was an exciting play to work with. It was to be approached from that perSpective--human relationships and emotions. Being a classical play, Oedipus presents an Opportunity to work with formal language. The director, accustommed to producing contem- porary plays, welcomed this Opportunity to express some ideas he had had about Greek choruses. Oedipus is a famous play title. It was expected to draw many students who had studied, or were studying, it in classes. It would allow those classes to view a production, to supplement the material they read. It was thought to be good for the Theatre Department, because the famous title should draw a large audience. Since the Department seldom does Greek drama, this would give the bill more variety. Initial Production Planning Production Goal The production was to make an ancient Greek tragedy meaningful and exciting to a contemporary audience. Theme of the Play SOphocles stresses fear of and obedience to the gods, and it is through the forsaking of this theme that Oedipus brings about his destruction. It was thus important that the chorus project great awe for the gods. Production Concept The characters of Oedipus seem similar to a modern—day sensi- tivity group. This might be an image that a contemporary audience could really identify with. Such a group is put in a confined place where they must remain for twenty-four or forty-eight hours. They must recognize their own problems and struggle to their own solutions, as a unit, without any help from the outside; finding their own method of therapy by themnselves. Tears, laughter, singing, dancing, grunts, and screams are part of the therapy, but the group struggles on. In such a way the characters of Oedipus are thrown into a place from which there is no escape--Thebes during the plague--and must find their own therapy and their own solutions. Again, all the physi- cal behavior of the group (in this case the movement and sound of the chorus of citizens) is part of the therapy. They are a group working out its own solutions to life's problems. This was a beginning production image. It pervaded the planning 0f the Greek chorus. Greek choruses from other productions always seemed too stilted and stylized and not very realistic or identifiable. Characters seemed to move Spontaneously and unanimously in large formal ways with no apparent motivation or communication with each other. They did not seem to move because they iglg it. But this "sensitivity" concept allowed for more naturalism. Characters moved and Spoke as an expression of their weighty feelings; to relieve their intense emotions. They ESE pp their stylized therapy (method of problem solving) together. Not just suddenly jumping into formal choreography, they became involved in it more gradually, showing each other how to move and Speak. The chorus showed the audience the motivations first and then acted them out. Some examples of the above, from the production itself: 1) When all the citizens were lying around moaning mournfully, the priest pulled them up, whiSpering "Apollo," as an encouragement to join him in prayer. The group picked up the whiSpered chant, and gradually moved closer to pray. 2) When the citizens had seen Oedipus' fate they were moved to express their pity. One man had the idea of expressing compassion by acting out a mime of Oedipus' life. He pulled the others into it by leading one citizen into the center of the group, moving the man's arms into gestures, and whispering to him, ”Oedipus.” The group picked up the mime. 3) The chorus seldom Spoke in group chants, without some 223 citizen Speaking out the chant first, and the rest of the group picking it up in a very natural style. Rehearsal Plans Other production plans evolved from this "sensitivity" image. It was necessary for the chorus to feel a cohesive group-ness, so they would appear to have lived through years of work together, like the Theban citizens. Many sensitivity exercises were planned for them. Also useful were energy transfer exercises (the Sharing and communi- cation of vocal and physical rhythms and energies), to get them expressing their feeling together. The chorus had musical tones and the Theban citizens were musical peOple, peOple who liked to express themselves in music. Since the idea was accepted of setting the weighty emotions of the play on a musical background, actors were cast who could Sing or play an instrument. No outside music or sound effects were used, but everything came from the self-contained group onstage. The characters of the priest and the second messenger were really chorus members, to conserve numbers. Script Plans It was necessary for the choral odes to be in verses, so one actor could Speak out a verse, and the others could pick up the feel- ing and repeat the verse. The William Butler Yeatls translation, which was the most versified and rhythmic in the odes, was adapted and the wording cut down for clarity. A short verse, to be repeated several times, was thought better than many long verses, each to be said once. The basic feeling or motivation of each ode was decided upon, and the wording was edited to clarify that feeling. (See edited script in the "Documentation of Production" chapter.) The Greeks used many different names to refer to one person or place. This is often complicated for contemporary audiences, so the script was edited until each person or place had only one label. (See script.) It was decided to start the show as a night scene with part of the citizenry of Thebes asleep, as a device for lowering the tone and style of the beginning of the Show. This drew the audience in on a lower, more naturalistic atmOSphere and eased them into the formal weight of the later daylight scenes, when everyone is active. To further ease the audience into the play, an introductory ode was planned (see script), to be moaned by certain citizens azthe very beginning, while other citizens slept, and Oedipus, Creon, and Jocasta performed a pantomime introducing the Story. The wording for this ode was a section tranSposed from an ode later in the play. Technical Plans SET: (See floor plan in "Documentation of Production" section.) A theme of mysticism was Stressed in the design of the play, Since in this production the Thebans lives were to be pervaded with occult gods and ministers and prayers. The mystic, the occult, is also becoming pOpular today, so this was an influence on the set that was both Greek and contemporary; that was visually interesting and made the play easily identifiable for a modern audience. To throw focus on the peOple in the play, the set was simple. A low platform arrangement, Shaped from a diamond, a circle, and a triangle, stood center stage. Green occult symbols on the black background of the platform reflected the mystic theme while two palace steps, on one corner of the Stage, led to Oedipus' palace. Blocking for arena staging requires a strong use of the diagonals (of the Square stage). If the actors stand closer to the diagonals, they create better audience sight lines. To assist actor-movement along the diagonals the platform arrangement was placed diagonally on the floor plan. Then, to achieve a more uniquely Shaped set and break the stagnant quality created by straight diagonal lines, the platforms were set slightly off the diagonals. COSTUMES: Again the focus was to be on the actors, so the costumes were simple. Using dark intensities of many different color hues, they reflected the gloom and tragedy of the story. Oedipus, Jocasta, and Creon, as the royal party, were in dark shades of bur- gundy and purple, the chorus was in different shades of blue, Tiresias in dark green, the Shepherd and Old Messenger in green and brown. The costumes used basically Greek lines, but with contemporary influences, such as completing the seams where the Greeks would tie the material, or using headbands. This Suggested Greek period but still projected something identifiable to a contemporary audience. Reflecting the mystic theme, the same symbols used on the set adorned the garments of the citizenry. LIGHTING: The lighting needed to be Simple, to let the actors take prominence, and bleak and stark to fit the tragic mood. Because the play was to begin with a night scene, a scene change from night time to daylight was needed. There were not enough instruments to light both scenes with fresnels, so the night scene was bathed with blue sc00ps, a Shadowy effect. The entrance of Tiresias was chosen for the scene change, and was made a visually effective symbolic moment: a simulated sunrise of truth and knowledge, to the rhythms and chants of worshipping Thebans. The lighting returned to "night" after Oedipus ran off to blind himself. CHAPTER II REHEARSAL PROCESS Evaluation of Rehearsals Overall, the planning process and rehearsal techniques were very successful. The actors were treated warmly and informally and given lots of freedom to experiment with their own ideas. The direction often consisted of playing off Eh§i£_impulses and drawing out Ehglg personalities to mold the characters. Consequently the director came to rehearsals with an open mind and everyone found the best inter- pretation together, on the Spot. This process was sometimes slow, but inSpiration came from the director when it was needed. First the actors read the scenes, then talked about it thoroughly with the director, and sometimes ran improvizations to get inside the feeling of it. This was designed to make actors more comfortable and natural with the motivations in the scenes, so they really got inside the characters and understood all of the moments. This approach excited the actors, who had never felt so much freedom and decision in discovering a part, nor delved so deeply and completely into the minds of the characters. They began to feel confident with their motivations, even to the point of disagreeing with their director when they thought he was making a bad suggestion. The actor playing Oedipus felt eSpecially close and involved in major decisions, and appreciated it. Oedipus was his, not a part that he was doing for the director, but pig, and he appreciated it. There are two processes of the director's related to the above technique that might profit with change. First, the actors were allowed to run their scene without interruption from the director, even when they made mistakes. Notes were then given when they fin- ished. This helped the continuity and made the actors realize the scene was really theirs, not the director's. However, on the bad Side, this sometimes reinforced their bad habits through constant repitition. Perhaps if they were StOpped more often the bad habits would have been corrected earlier. The second thing involves Tiresias. When it seemed the actors had internalized something, the director stepped back to let them finalize and polish it off by themselves. Now Tiresias was reading her lines quietly, with an attempt at calm inner Strength, but it sounded monotonous and lacked energy. Trying to strengthen her per- formance, the director put her through an exaggeration improvization. When it seemed she had successfully boosted her strength and energy so she could really let go in her scene, he Stepped back to let her polish it. She lost the strength and fell back into weakness. Perhaps his laissez-faire treatment of her characterization had caused her to miss the dynamics she could have achieved. Sensitivity exercises and improvizations were used in chorus rehearsals, both for group unity and to help them £23; the odes, so that they could help inspire their own blocking. They were grateful for this approach. Their unity and camaraderie were a delight, and 10 they stepped comfortably and with flexibility into the feelings of every ode. However, this approach became too cumbersome after a while. The principals were Striving ahead, while it took a few rehearsals for each choral ode. It became necessary to plan the odes outside of rehearsals, and merely Show them to the chorus each night. However everyone was grateful for the involved sensitivity work at the beginning. The play was rehearsed by scenes, with involved work on each scene, rather than the whole play in order. The approach was success- ful. It gave each actor a clear deep understanding of every moment of the play, before it was all put together. There is perhaps one mistake that could have been avoided. Because there are so many scenes, actors involved in only one (Tiresias for example) sometimes went a week or more between rehearsals. This is too long a break and causes the actor to be cold and unfamiliar when he finally does rehearse. If each actor had gone no more than three days without a short review of his work, more continuity might have been main- tained. Tiresias might even have found more strength of character through sustained rehearsal. The first two weeks were Spent in interpretation. It helped the actors get into character. By the time blocking started, the director knew their impulses and could block with their Style in mind. Blocking took a week of rather mechanical rehearsals. Then blocking and interpretation were combined for a week, reviewing and discovering the depth of the first two weeks, so it was all polished and Shaped together. 11 Then followed runthroughs and dress rehearsals, which enabled the actors to feel the continuity and build of the Show, and prepared them for opening night. They seemed to respond to this order of rehearsals, thinking the Show through with their director, and everyone was ready for Opening. There were two other problems in the production. First of all, the actor who played Creon Should never have been cast, even though there seemed to be no other men with even his small amount of talent. If he had the perception to understand the character, he certainly had not the talent to express it. He was SlOppy, weak, nervous, immature, and generally hard for an audience to tolerate. The director did not believe in cutting actors for lack of talent, so the "Creon" actor was not cut from the Show. Secondly, the audience found the first scene dull and expositionaL Perhaps the beginning of a play is too important a moment to tolerate such a dry scene, or perhaps this exposition is crucial to the plot, but SOphocleS is not to be thanked for such a scene. Maybe it should have been cut. In general, the director and cast worked very successfully together. 12 Evaluation by the Designers G.;L: Blanchard: Set Design The pre-production planning for OEDIPUS was handled in a series of weekly meetings, well before rehearsals Started. In the first meeting, the concept of the play was discussed. The concept put forth by the director was that the play would be influenced by two factors. The first being an encounter group, or sensitivity training, and the second was the present day emphasis on the occult. At the second meeting, I brought a model of the prOposed set for approval. This was for size and Shape of the platforms only. Michael approved the design. At the same meeting, the occult symbols to be utilized in the design, were discussed. The third meeting was held for the purpose of coordinating all of the symbols used on the set, with the colors and symbols to be used in the costuming. Much effort was made to co-ordinate the set, costumes and lights, in regard to the mystical concept Michael had in mind for the play. Certain gestures used in the play were, for example, typical symbolic gestures used in mystical demon exorcising ceremonies. After the total concept of the play was solidified, I met with the lighting designer to discuss the particular moods and effects to be achieved, and whether it was possible with the limited access to the Stage, working around classes, and too few rehearsals on the set. We made the necessary compromises, and built the scenery. 13 From the designer's point of view, Mr. Firestone was most co- operative, well organized, Open to suggestion, and very helpful and professional in his approach. David Siljander: Lighting Design In designing the lighting for Michael Firestone's production of OEDIPUS I met a number of times with Michael and the set and costume designers. Our first discussion was about Michael's production concept and what he wanted in regard to mood and effect of the lighting. The results were a stark, naturalistic light with as much flexibility as possible with reSpect to area control. After consulting with the set and costume designers I drew up my color scheme. I had several meetings with Michael to keep him posted on the development of my design and for obtaining the gel we needed. The number of meetings increased after I became Stage Manager. Working together the numerous little problems of tech and dress rehearsals and performances were solved quickly resulting in an ex- tremely smxth running Show. I have enjoyed working with Michael and I am very glad to have been a part of OEDIPUS. Sara Jane Wright: Costume Designer From the beginning, Michael Firestone was a pleasant director to work with. For me, as the costume designer, his costume stipu- lations were extremely reasonable and fitting for his interpretation of OEDIPUS THE KING. 14 At our first meeting he explained his concepts for the production. His characters were not to be monolithic Greek hero types separated from a chanting chorus, but a group of peOple struggling together with the same terror. Oedipus and chorus were to all be part of a sensitivity group--touching, dancing, singing and reSponding to each other. Michael's requests for the costumes were all aimed at allowing and aiding the actors in this sensitive reSponse. The first consid- eration was that the actors be able to move comfortably. Secondly, he did not want Oedipus to stand apart from the others in any sort of king-like richness. Thirdly, he did not want the costumes to read costumey to the audience--he wanted all of his Greeks to present the relaxed feeling of blue jeans and long loose dresses of today, yet still keep them Greek. Specifically, Michael wanted something symbolic done with color, and a feeling of mysticism to tie his characters together. At first he suggested having Oedipus in black, but I convinced him that this would hinder Oedipus from appearing close to the rest of the peOple, and that it would not reflect the agony of the character. I chose a modified Greek kiton for all of the characters. This costume gave the actors the ability to move comfortably which was Michael's first concern. I felt the kiton also correSponded to the simple relaxed costume of today. I also decided to build everything from a light weight muslin, hOpeful that it would fall into the soft folds of the Greek dress, at the same time linking the costumes to the contemporary peasant Shirts and dresses made of muslin. By lS dyeing the muslin I could acheive the colors I wanted and further parallel today's tie-dyed and faded denim feeling. My colors ran from dark red through a navy. Oedipus was in red; Jocasta, maroon; Creon, wine; and the chorus running from purple through navy. The dark red on Oedipus very obviously pointing out his sin, and heightened his bloodiness at the end. And Jocasta's, and even Creon's colors reflected their involvement in the crime. The mysticism was suggested in the costumes by bordering the kitons in different areas with occult symbols which were repeated on the set. My instructions from Michael were Slightly confining, but he was completely open to all my suggestions. It was easy to understand the effects he wanted, and I was made to feel that all of my efforts were important and helped create his production. OEDIPUS CHAPTER III DOCUMENTATION OF THE PRODUCTION Initial Rehearsal Schedule Interpretation Rehearsals: DAY TIME CHARACTERS PLACE Thurs., Jan. 20 7:29-10:30 Chorus-Oedipus, Jocasta, Union Old Messenger, Sheperd Fri., Jan. 21 7:29-10:30 Oedipus, Tiresias Union Sat., Jan 22 1:00-4:00 Oedipus, Creon Union Sun., Jan. 23 12:00-3:OO Oedipus, Jocasta Parlor C Mon., Jan. 24 7:29-10:30 Chorus-Oedipus, Tiresias Parlor C Tues., Jan. 25 8:30-11:00 Chorus Captains Room Thurs., Jan. 27 7:29-10:30 Chorus-Oedipus, Jocasta Union 9:00 - Add Old Messenger, Shepard Mon., Jan. 31 7:29-10z30 Chorus, Oedipus Ballroom Tues., Feb. 1 7:29-10:30 Oedipus, Creon Rm. 38 Wed., Feb. 2 7:29-10:30 Chorus Rm. 38 Thurs., Feb. 3 7:29-10:30 Chorus, Oedipus Rm. 38 Fri., Feb. 4 7:29-10:30 Leave OPEN for polishing Rm. 38 (Elma excused) Sat., Feb. 5 1:00-4:00 Leave OPEN for polishing Ballroom (A.J. excused) Sun., Feb. 6 7:29-10:30 RUNTHROUGH for interpretation Ballroom (EVERYONE NEEDED) 16 Blocking Rehearsals: l7 DAY TIME CHARACTERS PLACE MOn., Feb. 7 7:29-10:30 Chorus, Oedipus, Tiresias Ballroom Tues., Feb. 8 7:29-10:3O Chorus, Oedipus, Creon Parlor B (Elma come at 8:45) Wed., Feb. 9 7:29-10:30 Chorus Rm. 38 Thurs., Feb. 10 7:29-10:30 Chorus-Oedipus, Jocasta Rm. 39 Rm. 30 Fri., Feb. 11 7:29-10:30 Chorus, Oedipus Ballroom (8:00 add Jocasta, Messenger, Sheperd) Sat., Feb. 12 1:00-4:00 Leave OPEN Ballroom Sun., Feb. 13 7:29-10:30 Leave OPEN Ballroom Mon., Feb. 14 7:29-10:30 RUNTHROUGH for blocking Parlor A (EVERYONE NEEDED) All lines learned by Tuesday, February 15, Please! Polishing Rehearsals: (All lines learned by now. Rehearsals off book.) DAY TIME CHARACTERS PLACE Wed., Feb. 16 7:29-10:30 Chorus, Oedipus, Jocasta Parlor A Old Messenger, Sheperd Thurs., Feb. 17 7:29-10:30 Chorus, Oedipus, Tiresias Parlor A Fri., Feb. 18 7:30-10:30 Chorus, Oedipus Parlor A Sat., Feb. 19 11:00-2:00 Chorus, Oedipus, Creon Tower Rm. 3:00-6:00 Chorus-Oedipus, Jocasta T. Tennis Sun., Feb. 20 7:29-10:30 Leave OPEN Parlor C 18 Polishing Rehearsals (continued): Mon., Feb. 21 7:29-10:30 Chorus Tues., Feb. 22 7:29-10:30 RUNTHROUGH (EVERYONE) Thurs., Feb. 24 1:00 p.m. RUNTHROUGH (skip classes, please) Sat., Feb. 26 7:29 Tech Rehearsal Sun., Feb. 27 7:29 Dress Rehearsal Mon., Feb. 28 7:29 Dress Rehearsal Tues., Feb. 29- PERFORMANCES Sun., March 5 Arena Arena Arena Arena Arena Arena Arena 19 Floor Plan of the Set 20 OEDIPus Tue KIA/6— ARENA THE/area DESIGNS.» Bv G.L. BJLANCHA'RD SCI/ALE; I/l-I INCH ;; / FOOT BLOC—ken Fan FuLz. mean/A. ---- ‘ ‘ ’. ‘9 0 Q \~’ --:.~. 0' ' ‘3 ' ’0 “.8 \-’ \‘ __ & ...?“ I I I I I 21 Revised Script and Blocking Notes Key to Blockinngotes: Oedipus...................O Jocasta...................J Creon....................Cr Tiresias..................T Old Messenger............OM Shepherd..................S Chorus Member..... ....... Ch KING OEDIPUS by William B. Yeats Introductory Ode CHORUS: Our city is plagued by a god of death that con- [Chorui sumes this form with pain. 3"” ‘J Famine takes what the plague Spares and all pallet-s. the crOpS are lost. Sorrow Speaks to sorrow but no comfort finds in words. Death is all the fashion now till even death be dead. SCENE I OEDIPUS: Children, descendants of old Cadmus, why do E’W'.” O 3L' you huddle here, why do you carry the branches of suppliants, while the city smokes with incense and murmurs with prayer and lamenta- A tion? I would not learn from any mouth but XDC' +0 C ' yours, old man, therefore I question you myself. Do you know of anything that I can do and have not done? How can I, being the man I am, being King Oedipus, do other than all I know? I were indeed hard of heart did I not pity such suppliants. PRIEST: ELMA: OEDIPUS: PRIEST: OEDIPUS: PRIEST: OEDIPUS: CREON: 22 Oedipus, King of my country, we who crowd your streets are of all ages, some too young to bear these times, some--priests of Zeus, such BOW KUR- as I--too weary. We all stand here because the city stumbles towards death, hardly able to raise up its head. A blight has fallen upon the fruitful blossoms of the land, a blight upon flock and field and upon the bed of marriage--plague ravages the city. Oedipus, King, not God but foremost of living men, seeing that when you first came to this town of Thebes you freed us from that harsh Singer, the riddling Sphinx, I beseech you to find some help; whether you find it by your power as a man, or because, being near the Gods, a God has whiSpered you. Uplift our State. Think upon your fame; your coming brought us luck, be lucky to us Still. My unhappy children! I know well what need has brought you, what suffering you endure; yet, sufferers though you be, there is not a single one whose suffering is as mine--each mourns himself, but my soul mourns the city, myself, and you. It is not as if you arouse a Sleeping man. I have already done the only 80““ XMC- thing that came into my head. I have sent Creon, my own wife's brother, to the Delphic Oracle to hear if deed or word of mine may yet deliver this town. I am troubled, for he is a long time away--a longer time than Should be-- but when he comes I shall not be an honest man unless I do whatever the God commands. You have Spoken at the right time, for Creon 01'" YC' has arrived. '3" P‘GWFM . 0 King Apollo, may he bring brighter fortune, for his face is Shining! He brings good news, for he is crowned with bay. Ct- awhi- DE We Shall know soon. Brother-in-law, what news from the God? Good news; for pain turns to pleasure when we have set the crooked straight. OEDIPUS: CREON: OEDIPUS: CREON: OEDIPUS: CREON: OEDIPUS: CREON: OEDIPUS: CREON: OEDIPUS: CREON: OEDIPUS: CREON: OEDIPUS: CREON: OEDIPUS: 23 But what is the oracle? --so far the news is neither good nor bad. If you would hear it with all these about you, Cr ‘QAJ 0 L- I am ready to Speak. Or do we go within? Speak before all. for my own life than these. Then, with your leave, I Speak. The God of the Oracle bids us drive out a defiling thing that has been cherished in this land. By what purification? King Laius was our King before you came to pilot US. I know--but not of my own knowledge, for I never saw him. He was killed; and the God now bids us revenge it on his murderers, whoever they be. Where Shall we come upon their track after all these years? Did he meet his death in house or field, at home or in some foreign land? In a foreign land: Delphi. he was journeying to Did no fellow-traveller see the deed? Was there none there who could be questioned? All perished but one woman who fled in terror and could tell for certain but one thing of all she had seen. One thing might be a clue to many things. He said that they were fallen upon by a great troop of robbers. What robbers would be so daring unless bribed from here? Such things were indeed guessed at, but Laius once dead no avenger arose. We were amid our troubles. But when royalty had fallen what troubles could have hindered search? The sorrow I endure is less Ck XL. CREON: OEDIPUS: PRIEST: ODE I CHORUS: SCENE 2 OEDIPUS: 24 The riddling Sphinx put those dark things out of our thoughts--we thought of what had come to our own doors. But I will start afresh and make the dark 0 XLIC things plain. In doing right by Laius I protect myself, for whoever Slew Laius might turn a hand against me. Come, my children, rise up from the altar Steps; lift up these 4H5 suppliant boughs and let all the children of 0 XC / 8h Cadmus be called hither that I may search out everything and find for all happiness 9,le DL or misery as God wills. Ld{ek C}? May Apollo, sender of the oracle, come with it and be our saviour! \ Apollo chase the God of death that brings this (535 ‘ChONS misery. Hurry him from the land of Thebes Blocking ” to the western sea. Chaf‘l’e—l‘.) Master of the thunder-cloud, set the lightning free, And add the thunder-stone to that and fling them on his head, For death is all the fashion now, till even death be dead. 0 UrnLer PL, You are praying, and it may be that your prayer XXL will be answered; that if you hear my words and do my bidding you may find help out of all your trouble. This is my proclamation, children of Cadmus. Whoever among you knows by what man Laius, your former king, was killed, must tell all he knows. If he fear for himself and being guilty denounce himself, he shall be in the less danger, suffering no worse thing than banishment. If on the other hand there be one that knows that a foreigner did the deed, let him Speak, and I shall give him a reward and my thanks: but if any man keep silent from fear or to screen a friend, hear all what I will do to that man. No one in this land shall Speak to him, nor offer sacrifice beside him; but he Shall be driven from their homes as if he himself had done the deed. And in this I am the ally of the Delphic oracle and of the murdered man, and I pray that CHORUS: OEDIPUS: CHORUS: OEDIPUS: CHORUS: OEDIPUS: CHORUS: OEDIPUS: CHORUS: OEDIPUS: 25 the murdenafislife may, should he be so hidden and screened, drOp from him and perish away, whoever he may be, whether he did the deed with Others or by himself alone: and on you I lay it to make these words good, for my sake, and for the God's sake, and for the sake of this land. And even if the God had not Spurred us to it, it were a wrong to leave the guilt unpurged, when one so noble, and he your King, had perished; and all have sinned that could have searched it out and did not: and now since it is I who hold the power which he held once, and have his wife for wife-- She who would have borne him heirs had he but lived--I take up this cause even as I would were it that of my own father. And if there be any who do not obey me in it, I pray that the Gods send them neither harvest of the earth nor fruit of the womb; but let them be wasted by this plague, or by one more dreadful still. But may all be blessed (3 XIAC-- for ever who hear my words and do my will! We do not know the murderer, and it were indeed more fitting that the oracle who laid the task upon us, should name the man. No man can make the Gods Speak against their will. Then I will say what seems the next best thing. If there is a third course, Show it. I know that Tiresias is the seer most like to the Oracle and through her we may unravel all. So I was advised by Creon, and twice already have I sent to bring her. If we lack this help we have nothing but vague and ancient rumors. What rumors are they? I would examine every story. Certain wayfarers were said to have killed the King. I know, I know. But who was there that saw it? CHORUS: OEDIPUS: CHORUS: OEDIPUS: TIRESIAS: OEDIPUS: TIRESIAS: OEDIPUS: TIRESIAS: OEDIPUS: TIRESIAS: 26 If there is such a man, and terror can move him, he will not keep Silence when they have told him of your curses. He that was bold enough to do such a deed will not be terrified by my words. But there is one who Shall convict him. For the blind prOphet comes at last--of all men, the truth lives in her alone. em: “‘1": (Enter TIRESIAS, led by a boy.) Clair-ens T M Tiresias, master of all knowledge, whatever O XDL- may be Spoken, whatever is unSpeakable, what- ever omens of the earth and Sky reveal, the plague is among us and from that plague, Great prOphet, protect and save us. The Oracle in answer to our question says that it will not leave us till we have found the murderers of Laius, and driven them into exile or put them to death. Therefore share with us your wisdom and rescue yourself, rescue the State, rescue me, rescue all that are defiled by the deed. For we are in your hands, and what greater Oxc. . task falls to a man than to help other men with all he knows and has? Aye, and what worse task than to be wise and suffer for it? I know this well; it slipped out of mind, or I would never have come. What now? Let me go home. You will bear your burden to the end more easily, and I bear mine--if you but give me leave for that. Your words are Strange and unkind to the State that bred you. I see that you, on your part, keep your lips tight shut, and therefore I have Shut mine that I may come to no misfortune. For God's love do not turn away--if you have knowledge. we suppliants implore you on our knees. You are fools--I will bring misfortune neither upon you nor upon myself. OEDIPUS: TIRESIAS: OEDIPUS: TIRESIAS: OEDIPUS: TIRESIAS: OEDIPUS: TIRESIAS: OEDIPUS: TIRESIAS: OEDIPUS: TIRESIAS: OEDIPUS: TIRESIAS: OEDIPUS: 27 What is this? nothing? Thebes? You know all and will say You are minded to betray me and Why do you ask these things? You will not learn them from me. You would enrage O XRC aml never Speak out? block. T. What! Basest of the base! the very stones. Will you Cannot anything touch you? The future will come of itself though I keep Silent. Then if it must come you had best Speak out. I will Speak no further. Rage if you have a mind to; bring out all the fierceness in your heart. That will I. I will not Spare to speak my thoughts. Listen to what I have to say. It seems to me that you have helped to plot the deed; and, short of doing it with your own hands, have done the deed yourself. Had you eyesight I would declare that you alone OXLlC. ° had done it. . T {up :DS. So that is what you say? I charge you to obey the decree that you yourself have made, and from this day out to Speak neither to these nor to me. You are the defiler of this land. So brazen in your impudence? to escape punishment? How do you hope I have escaped; my strength is in my truth. Who taught you this? your art. You never got it by You, because you have Spurred me to Speech against my will. What Speech? it better. Speak it again that I may learn You are but tempting me--you understood me well enough. No; not so that I can say I know it; Speak it again. TIRESIAS: OEDIPUS: TIRESIAS: OEDIPUS: TIRESIAS: OED IPUS : TIRESIAS: OED IPUS : TIRES IAS : OEDIPUS : TIRES IAS : OED IPUS : TIIUESIAS: OED IPUS : 28 I say that you are yourself the murderer that you seek. You shall rue it for having Spoken twice such outrageous words. WOuld you that I say more that you may be still angrier? 0 XML. Say that which you will. I will not let it move me. I say that you are living with your next of kin in unimagined shame. Do you think you can say Such things and never smart for it? Yes, if there be strength in truth. There is; yes--for everyone but you. But not for you that are maimed in ear and in eye and in wit. You are but a poor wretch flinging taunts that in a little while everyone shall fling at you. Night, endless night has covered you up so that you can neither hurt me nor any man that looks upon the sun. Your doom is not to fall by me. Apollo is enough: it is his business to work out your doom. Was it Creon that planned this or you yourself? Creon is not your enemy; you are your own enemy. Power, ability, position, you bear all burdens, O XDL, DR, and yet what envy you create! Great must that Cit-ck. .1" envy be if envy of my power in this town-- J. R a power put into my hands unsought--has made a“ ° trusty Creon, my old friend Creon, secretly long to take that power from me; if he has suborned this scheming juggler, this quack and trickster, this woman with eyes for her gains and blindness in her art. Come, come, where did you prove yourself a seer? Why did you say nothing to set the townsmen free CHORUS: TIRESIAS: OEDIPUS: TIRESIAS: OEDIPUS: TIRESIAS: OEDIPUS: TIRESIAS: 29 when the riddling Sphinx was here? Yet that riddle was not for the first-comer to read; it needed the skill of a seer. And none such had you! No, I came; I silenced her, I the ignorant Oedipus, it was I that found the answer in my mother-wit. And it is I that you would pluck out of my place, thinking to stand close to Creon's throne. But you and the plotter of all this shall mourn deSpite your zeal to purge the land. Were you not an old woman, you had already learnt how bold you are Ch u” 0 “fl. and learnt it to your cost. r Both this woman's words and yours, Oedipus, have been said in anger. Such words cannot help us here, nor any but those that teach us to obey the oracle. King though you are, the right to answer when ’I/ Slip “P attacked belongs to both alike. I am not on pIarH‘oI-m- subject to you, but to the Gods; and therefore I shall never be Creon's subject. And I tell you, since you have taunted me with blindness, that though you have your sight, you cannot see in what misery you stand, nor where you are living, nor with whom, unknowing what you do--for you do not know the Stock you come of--you have been your own kin's enemy be they living or be they dead. And one day a mother's curse and father's curse alike shall drive you from this land in dreadful haste with darkness upon those eyes. Therefore, heap your scorn on Creon and on my message if you have a mind to; for no one of living men Shall be crushed as you shall be crushed. Begone this instant! Away, away! Get you O XDK’ DL - from these doors! I had never come but that you sent for me. I did not know you were mad. I may seem mad to you, but your parents thought me sane. My parents! Stop! Who was my father? 0 ch . This day shall you know your birth; and it will ruin you. 3O OEDIPUS: What dark words you always Speak! TIRESIAS: But are you not most skillful in the unravel- ling of dark words? OEDIPUS: You mock me for that which made me great? 0 XDL , TIRESIAS: It was that fortune that undid you. OEDIPUS: What do I care? For I delivered all this town. TIRESIAS: Then I will go: lead me out of this. OEDIPUS: Yes, let him lead you. You take vexation with you. 1,. TIRESIAS: I will go: but first I will do my errand. ' #QP “F 40 For frown though you may you cannot destroy “‘5‘“ 91"me me. The man for whom you look, the man you have been threatening in all the proclamations about the death of Laius, that man is here. He seems an alien; yet he shall be found a native Theban and shall nowise be glad of that fortune. A blind man, though now he has his sight; a beggar, though now he is most rich; he Shall go forth feeling the ground before him with his Stick; SO you go in and think on that, and if you find I am in fault say that I have no Skill in prophecy. ’T.¢Hxfif"4"' C) ¢fofb DM-. (TIRESIAS is led out by the boy. OEDIPUS enters the palace.) ODE 2 CHORUS: The Delphic God has Spoken out, now must the (533 u.C/"\°"“$ wicked man who planned the things I dare not “» u speak and did this bloody act, chaffer,) Pray for feet that are as fast as the four hoofs of the wind: All the gods and all the Fates thunder at his back. (CREON enters from the house.) SCENE 3 CREON: CHORUS: CREON: CHORUS: CREON: CHORUS: OEDIPUS: CREON: OEDIPUS: CREON: OEDIPUS: CREON: 31 Cr eta-Ha- UR. Fellow citizens, having heard that King Oedipus accuses me of dreadful things, I come to discover the problem. Does he think that he has suffered wrong from me in these present troubles, or anything that could lead to wrong, whether in word or deed? How can I live under blame like that? What life would be worth having if by you here, and by my nearest friends, called a traitor through the town? He said it in anger, and not from his heart. Ce xunc. He said it was I put up the seer to speak those falsehoods. Such things were said. And had he his right mind saying it? I do not know--I do not know what my masters do. (OEDIPUS enters.) O (Lu-ter- DH XOR. , wt, uc, net at Cr. What brought you here? Have you a face so brazen that you come to my house--you, the proved assassin of its master--the certain robber of my crown? Come, tell me in the face of the gods what cowardice, or folly, did you discover in me that you plotted this? Did you think that I would not see what you were at till you had crept upon me, or seeing it would not ward it off? What madness to seek a throne, having neither friends nor followers! Now, listen, hear my answer, and then you may CV- PKSK O with knowledge judge between us. “LC. You are plausible, but waste words now that I know you. Hear what I have to say. I can explain it all. One thing you will not explain away--that you 0 X6 . are my enemy. You are a fool to imagine that senseless stubbornness sits well upon you. (L‘k nuuu LLL.. OEDIPUS: CREON: OEDIPUS: CREON: OEDIPUS: CREON: OEDIPUS: CREON: OEDIPUS: CREON: OEDIPUS: CREON: OEDIPUS: CREON: OEDIPUS: CREON: OEDIPUS: CREON: OEDIPUS: CREON: OEDIPUS: CREON: 32 And you to imagine that you can wrong a kinsman and escape the penalty. That is justly said, I grant you; but what is this wrong that you complain of? Did you advise, or not, that I should send for that notorious prophet? And I am of the same mind still. How long is it, then, since Laius-- What, what about him? Since Laius was killed by an unknown hand? That was many years ago. Was this prophet at her trade in those days? Yes; Skilled as now and in equal honor. Did he ever Speak of me? Never when I was within earshot. And did you inquire into the murder? We did inquire but learnt nothing. And why did She not tell out her Story then? I do not know. nothing. When I know nothing I say This much at least you know and can say out. What is that? If I know it I will say it. That if she had not consulted you she would never have said that it was I who killed Laius. You know best what she said; but now, question for question. Question your fill--I cannot be proved guilty of that blood. Answer me then. sister? Are you not married to my OEDIPUS: CREON: OEDIPUS: CREON: OEDIPUS: CREON: CHORUS: OEDIPUS: CREON: OEDIPUS: CREON: OEDIPUS: CREON: OEDIPUS: CREON: OEDIPUS: 33 O )(D&. And with That cannot be denied. And do you not rule as she does? a like power? I give her all she asks for. And am not I the equal of you both? Yes: and that is why you are so false a friend. Not so; reason this out as I reason it, and first weigh this: you give me what I ask and let me do what I want, but were I King I would have to do things I did not want to do. Why Should I give up these things and take those? No wise mind is treacherous. I am no contriver of plots, and if another took to them he would not come to me for help. And in proof of this go to the Delphic Oracle, and ask if I have truly told what the gods said: and after that, if you have found that I have plotted with the Soothsayer, take me and kill me; not by the sentence of one mouth only--but of two mouths, yours and my own. But do not condemn me in a corner, upon some fancy and without proof. King! He has Spoken well, he gives himself time to think; a headlong talker does not know what he is saying. 0 XLIRC The plotter is at his work, and I must counter- plot headlong, or he will get his ends and I miss mine. Cr ULC. What will you do then? Drive me from the land? Not so; I do not desire your banishment--but your death. You are not sane. I am sane at least in my own interest. You should be in mine also. No, for you are false. But if you understand nothing? Yet I must rule. CREON: OEDIPUS: CREON: CHORUS: JOCASTA: CREON: OEDIPUS: CREON: JOCASTA: CHORUS: OEDIPUS: CHORUS: OEDIPUS: CHORUS: OEDIPUS: 34 Not if you rule badly. Hear him, 0 Thebes! Thebes iS for me also, not for you alone. Cease, princes: I see Jocasta coming out of the house; she comes just in time to quench the quarrel. (JOCASTA enters.) 3‘ enfer 13L) XC 1H3“ platform. Unhappy men! Why have you made this crazy uproar? Are you not ashamed to quarrel about your own affairs when the whole country is in trouble? Go back into the palace, Oedipus, and you, Creon, to your own house. StOp making all this noise about some petty thing. Your husband is about to kill me--or to drive me from the land of my fathers. Yes: for I have convicted him of treachery against me. Now may I perish accursed if I have done such a thing! For God's love believe it, Oedipus. First, for the sake of his oath, and then for my sake, and for the sake of these peOple here. King, do what she asks. What would you have me do? Not to make a dishonorable charge, with no more evidence than rumor, against a friend who‘ has bound himself with an oath. Do you desire my exile or my death? No, by the first of all the gods, may I die abandoned by Heaven and earth if I have that thought! What breaks my heart is that our public griefs should be increased by your quarrels. Then let him go, though I am doomed thereby O XC to death or to be thrust dishonored from the land; it is your lips, not his, that move me to compassion; wherever he goes my hatred follows him. 3S CREON: You are as sullen in yielding as you were CV Xuac' vehement in anger, but such natures are their own heaviest burden. OEDIPUS: Why will you not leave me in peace and begone? O XDR CREON: I will go away; what is your hatred to me? In ‘ the eyes of all here I am a just man. Cf Q-le DR (He goes.) CHORUS: Lady, why do you not take your man into the house? JOCASTA: I will do so when I have learnt what has happened. CHORUS: The half of it was blind suSpicion bred of talk; the rest the wounds left by injustice. JOCASTA: It was on both sides? CHORUS: Yes. JOCASTA: What was it? CHORUS: Our land is vexed enough. Let the thing alone now that it is over. (Exit leader of CHORUS.) JOCASTA: In the name of the gods, King, what put you 3’ XD&- in this anger? OEDIPUS: I will tell you; for I honor you more than these men do. The cause is Creon and his plots against me. JOCASTA: Speak on, if you can tell clearly how this quarrel arose. OEDIPUS: He says that I am guilty of the blood of Laius. JOCASTA: On his own knowledge, or on hearsay? OEDIPUS: He has made a rascal of a seer his mouthpiece. JOCASTA: Do not fear that there is truth in what he says. Listen to me, and learn to your comfort that nothing born of woman can know what 3/ XC - is to come. I will give you proof of that. An oracle came to Laius once, I will not say from Delphi but from his ministers, that he was doomed to die by the hand of his own OEDIPUS: JOCASTA: OEDIPUS: JOCASTA: OEDIPUS: JOCASTA: OEDIPUS: JOCASTA: OEDIPUS: JOCASTA: OEDIPUS: JOCASTA: OEDIPUS: 36 child Sprung from him and me. When his child was but three days old, Laius bound its feet together and had it thrown by sure hands upon a trackless mountain; and when Laius was murdered at the place where three highways meet, it was, or SO at least the rumor was, by foreign robbers. So Apollo did not bring it about that the child should kill its father, nor did Laius die in the dreadful way he feared by his child's hand. Yet that was how the message of the seers mapped out the future. Pay no attention to such things. What the God would show he will need no help to Show it, but bring it to light himself. OXC What restlessness of soul, lady,has come upon me since I heard you Speak, what a tumult of the mind! What is this new anxiety? What has startled you? You said that Laius was killed where three highways meet. Yes: that was the story. And where is the place? In Phocis where the road divides branching off to Delphi and to Daulis. And when did it happen? How many years ago? News was published in this town just before you came into power. 0 Zeus! What have you planned to do unto me? (3 )(‘{FR He was tall; the Silver had just come into his hair; and in shape not greatly unlike to you. Unhappy that I am! It seems that I have laid a dreadful curse upon myself, and did not know it. What do you say? I tremble when I look on you, 3 XLl R my King. And I have a misgiving that the seer can see indeed. But I will know it all more clearly, if you tell me one thing more. JOCASTA: OEDIPUS: JOCASTA: OEDIPUS: JOCASTA: OEDIPUS: JOCASTA: OEDIPUS: JOCASTA: OEDIPUS: JOCASTA: OEDIPUS: 37 Indeed, though I tremble I will answer whatever you ask. Had be but a small trOOp with him; or did he travel like a great man with many followers? There were but five in all--one of them a herald; and there was one carriage with Laius in it. Alas! It is now clear indeed. Who was it brought the news, lady? A servant woman--the one survivor. Is she by chance in the house now? No; for when she found you reigning instead of Laius she besought me, her hand claSped DR in mine, to send her to the fields among the O x cattle that she might be far from the sight of this town; and I sent her. She was a worthy woman for a slave and might have asked a bigger thing. I would have her return to us without delay. Oedipus, it is easy. But why do you ask this? I fear that I have said too much, and there- 0 XDRL fore I would question her. She Shall come, but I too have a right to 15' )(DRC, know what lies so heavy upon your heart, my King. Yes: and it shall not be kept from you now 0 MC, that my fear has grown so heavy. Nobody is 5:+-'jr 91, more to me than you, nobody has the same .qu-lv-‘Gorm. right to learn my good or evil luck. My father was Polybus of Corinth, my mother the Dorian MerOpe, and I was held the foremost man in all that town until a thing happened-- a thing to startle a man, though not to make him angry as it made me. We were Sitting at the table, and a man who had drunk too much cried out that I was not my father's son--and I, though angry, restrained my anger for that day; but the next day went to my father and my mother and questioned them. They were indignant at the taunt and that comforted me--and yet the CHORUS: OEDIPUS: JOCASTA: OEDIPUS: JOCASTA: 38 man's words rankled, for they had Spread a rumor through the town. Without consulting O XDL) my father or my mother I went to Delphi, but the Oracle told me nothing of the thing for which I came, but much of other things--things of sorrow and of terror: that I should live in incest with my mother, and beget a brood that men would shudder to look upon; that I should be my father's murderer. Hearing those words I fled out of Corinth, and from that day have but know where it lies when I have found its direction by the stars. I sought where I might XLl L escape those infamous things--the doom that was laid upon me. I came in my flight to that very Spot where you tell me this king perished. Now, lady, I will tell you the truth. When I had come close up to those three roads, I came upon a herald, and a man like him you have described seated in a carriage. The man who held the reins and the old man himself would not give me room, but thought to force me from the path, and I Struck the driver in my anger. The old man, seeing what I had done, waited till I was passing him and then struck me upon the head. I paid him back in full, for I knocked him out of the carriage with a blow of my stick. He rolled on his back, and after that I killed them all. If this stranger were indeed Laius, is there a more miserable man in the world than the man before you? Is there a man more hated of Heaven? No stranger, no citizen, may receive )(C' him into his house, not a soul may speak to him, and no mouth but my own mouth has laid this curse upon me. These things, 0 king, fill us with terror; yet hope till you Speak with her that saw the deed, and have learnt all. Till I have learnt all, I may hOpe. I await the woman that is coming from the pastures. What is it that you hOpe to learn? I will tell you. If her tale agrees with yours, then I am clear. What tale of mine? OEDIPUS: JOCASTA: OEDIPUS: JOCASTA: ODE 3 CHORUS: SCENE 4 JOCASTA: 39 She told you that Laius met his death from robbers; if She keeps to that tale now and Speaks of several Slayers, I am not the slayer. But if she says one lonely wayfarer, then beyond a doubt the scale dips to me. Be certain of this much at least, her first 3' SfQTlJ tale was of robbers. She cannot revoke that tale-~the city heard it and not I alone. Yet, if she Should somewhat change her story, King, at least she cannot make the murder of Laius square with prOphecy, for the Oracle plainly said of Laius that he would die by the hand of my child. That poor innocent did not kill him, for it died before him. Therefore I would not fear at all. You have judged well; and yet for all that, send and bring this peasant to me. I will send without delay. I will do all that you would have of me--but let us come into the house. (They go into the house.) EXH" D L For this one thing above all I would be praised (see “Chorus as a man, B10¢th a) That in my words and my deeds I have kept .3 those laws in mind That high Olympian Zeus has fashioned for mankind, Even those sacred laws nor age nor sleep can blind. A man becomes a tyrant out of insolence, He climbs until all peOple call him great, He seems upon the summit, and Godslings him thence; Pity the man too proud. Pity his mournful state. (JOCASTA enters from the palace.) j éhler DL) It has come into my head, citizens of Thebes, XRC) Knee) . to visit every altar of the Gods with a dish of incense. For all manner of alarms trouble the soul of Oedipus, who instead of MESSENGER: CHORUS: MESSENGER: JOCASTA: MESSENGER: JOCASTA: MESSENGER: JOCASTA: MESSENGER: JOCASTA: MESSENGER: JOCASTA: MESSENGER: JOCASTA: 4O weighing new oracles by old, like a man of sense, is at the mercy of every mouth that Speaks terror. Seeing that my words are nothing to him, I cry to you, Apollo, whose altar is the first I meet: I come, a suppliant, bearing symbols of prayer; 0, make us clean, for now we are all afraid, seeing him afraid, even as they who see the helmsman afraid. (Enter MESSENGER.) 0M eu-l'u' “L. May I learn from you, Strangers, where is the home of King Oedipus? Or better still, tell me where he himself is, if you know. :S';y*uwu‘ (L. This is his house, and he himself, Stranger, is within it, and this lady is the mother of his children. Then I call a blessing upon her, seeing what Om XC— ° man she has married. May God reward those words with a like blessing, stranger! But what have you come to seek or to tell? Good news for your house, Lady, and for your husband. What news? From whence have you come? From Corinth, and you will rejoice at the message I am about to give you; yet, maybe, it will grieve you. What is it? How can it have this double power? The peOple of Corinth, they say, will take him for king. How then? Is old Polybus no longer on the throne? No. He is in his tomb. What do you say? Is Polybus dead, old woman? May I drop dead if it is not the truth. Away! Hurry to your master with this news. 0 CA Oxfi' DL' oracle of the gods, where are you now? This OM gif .‘ is the man whom Oedipus feared and shunned “5 $+¢p5- OEDIPUS: JOCASTA: OEDIPUS: JOCASTA: OEDIPUS: MESSENGER: OEDIPUS: MESSENGER: OEDIPUS: MESSENGER: OEDIPUS: JOCASTA: OEDIPUS: JOCASTA: OEDIPUS: 41 lest he should murder him, and now this man has died a natural death, and not by the hand of Oedipus. (Enter OEDIPUS.) O enhr )L. Jocasta, dearest wife, why have you called me from the house? . . fXDL Listen to this woman, and judge to what the oracles of the gods have come. And she--who may she be? And what news has she? She has come from Corinth to tell you that your father, Polybus, is dead. How, stranger? Let me have it from your own 0 xuk’ mouth. If I am to tell the story, the first thing is that he is dead and gone. By some sickness or by treachery? A little thing can bring the aged to their rest. Ah! He died, it seems, from sickness? O XDL . Yes; and of old age. Alas! Alas! Why indeed, my wife, Should one look to the Oracles? For they would have it that I was doomed to kill my father. And now he is dead--hid already beneath the earth. And here am I--who had no part in it, but Polybus has carried the oracles with him into Hades--the oracles as men have understood them --and they are worth nothing. Did I not tell you so, long since? You did, but fear misled me. Put this trouble from you. Those bold words would sound better, were not my mother living. But as it is--I have some grounds for fear; yet you have said well. JOCASTA: OEDIPUS: MESSENGER: OEDIPUS: MESSENGER: OEDIPUS: MESSENGER: OEDIPUS: MESSENGER: OEDIPUS: MESSENGER: OEDIPUS: MESSENGER: OEDIPUS: MESSENGER: OEDIPUS: MESSENGER: OEDIPUS: MESSENGER: OEDIPUS: 42 Yet your father's death is a Sign that all is well. I know that: but I fear because of her who lives. Who is this woman who makes you afraid? OM $1171“) XLC- MerOpe, old woman, the wife of Polybus. What is there in her to make you afraid? A dreadful oracle sent from Heaven, stranger. Is it a secret, or can you Speak it out? It said that I was doomed to marry my own mother, and to shed my father's blood. For that reason I fled from my house in Corinth; and I did right, though there is great comfort in familiar faces. was it indeed for that reason that you went into exile? I did not wish, old woman, to shed my father's blood. King, have I not freed you from that fear? You shall be fittingly rewarded. Indeed, to tell the truth, it was for that I came; to bring you home and be the better for it-- No! I will never go to my parents' home. 0 Xuc, uu. Ah, my son, it is plain enough, you do not know what you do. How, old woman? For God's love, tell me. If for these reasons you shrink from going home. I am afraid lest the Oracle has Spoken true. You are afraid of being made guilty through MerOpe? That is my constant fear. MESSENGER: OEDIPUS: MESSENGER: OEDIPUS: MESSENGER: OEDIPUS: MESSENGER: OEDIPUS: MESSENGER: OEDIPUS: MESSENGER: OEDIPUS: MESSENGER: OEDIPUS: MESSENGER: OEDIPUS: MESSENGER: OEDIPUS: MESSENGER: OEDIPUS: MESSENGER: OEDIPUS: MESSENGER: OEDIPUS: MESSENGER: 43 A vain fear. How so, if I was born of that father and mother? Because they were nothing to you in blood. What do you say? was Polybus not my parent. No more nor less than myself. How can my parents be no more to me than you who are nothing to me? He did not beget you any more than I. No? Then why did he call me his son? He took you as a gift from these hands of mine. How could he love so dearly what came from O another's hands? XDRC He had been childless. If I am not your son, where did you get me? In a wooded valley of Cithaeron. What brought you wandering there? I was in charge of mountain sheep. A shepherd--a wandering shepherd. A shepherd who came just in time. Just in time--had it come to that? Have not the cords left their marks upon your ankles? Yes, that is an old trouble. 0 XDL I took your feet out of the irons. I have had those marks from the cradle. They have given you the name you bear. Tell me, for God's sake, was that deed my 0 XML mother's or my father's? I do not know-She who gave you to me knows more of that than I. OEDIPUS: MESSENGER: OEDIPUS: MESSENGER: OEDIPUS: MESSENGER: OEDIPUS: MESSENGER: OEDIPUS: CHORUS: JOCASTA: OEDIPUS: JOCASTA: OEDIPUS: JOCASTA: OEDIPUS: JOCASTA: OEDIPUS: 44 What? You had me from another? You did not chance on me yourself? No. Another shepherd gave you to me. Who was she? Can you tell me who she was? I think thatshe was said to be of Laius' household. The king who ruled this country long ago? The same--the woman was Shepherd in his service. Is She alive, that I might Speak with her? You peOple of this country should know that. IS there any one here present who knows the herd she Speaks of? Any one who has seen her (3 )(C: in the town pastures? The hour has come when all must be made clear. I thinkshe is the very herd you sent for but now; Jocasta can tell you better than I. Why ask about that woman? Why think about her? Why waste a thought on what this woman has said? What She has said is of no account. What, with a clue like that in my hands and fail to find out my birth? For God's sake, if you set any value upon :Y' )((: your life, give up this search--my misery is enough. Though I be proved the son of a slave, yes, even of three generations of slaves, you cannot be made base-born. Yet, hear me, I implore you. Give up this search. I will not hear of anything but searching the whole thing out. I am only thinking of your good--I have advised you for the best. Your advice makes me impatient. JOCASTA: OEDIPUS: JOCASTA: CHORUS: OEDIPUS: CHORUS: OEDIPUS: MESSENGER: OEDIPUS: HERDSMAN: OEDIPUS: HERDSMAN: 45 May you never come to know who you are, unhappy man! GO, some one, bring the shepherd here--and O XOR?" let that woman glory in her noble blood. Ck Q—XIf “k: Alas, alas, miserable man! Miserable! That is all that I can call you now or for ever. (She goes out.) TCXH’ DLI ck some) Why has the lady gone, Oedipus, in such a transport of despair? Out of this silence will burst a storm of sorrows. Let come what will. However lowly my origin I will discover it. That woman, with all a woman's pride, grows red with shame at my base birth. I think myself the child of Good Luck, and that the years are my foster- brothers. Sometimes they have set me up, and sometimes thrown me down, but he that has Good Luck for mother can suffer no dishonor. That is my origin, nothing can change it, so why should I renounce this search into my Ch dul' S birth? If I, who have never met the woman, 9W?" “R' may venture to say so, I think that the Shepherd we await approaches; her venerable age matches with this stranger's. But you, if you have 0 XDL seen the woman before, will know her better than I. Yes, I know the woman who is coming; she was indeed in Laius' service, and is still the most trusted of the shepherds. I ask you first, Corinthian stranger, is this the woman you mean? She is. Look at me, old woman. Answer my questions. 0.xc. Were you once in Laius' service? hljk plo‘qu-M. I was: not a bought slave, but reared up in the house. What was your work--your manner of life? For the best part of my life I have tended flocks. OEDIPUS: HERDSMAN: OEDIPUS: HERDSMAN: OEDIPUS: HERDSMAN: MESSENGER: HERDSMAN: MESSENGER HERDSMAN: MESSENGER HERDSMAN: OEDIPUS: HERDSMAN: OEDIPUS: HERDSMAN: OEDIPUS: HERDSMAN: OEDIPUS: 46 Where, mainly? Cithaeron or its neighborhood. Do you remember meeting with this woman there? What woman do you mean? This woman. Did you ever meet her? I cannot recall her to mind. No wonder in that, master; but I will bring OM qu, back her memory. She and I lived side by Side CUTIE, 5 upon Cithaeron. I had but one flock and She J had two. Three full half-years we lived there, end R . from spring to autumn, and every winter I drove my flock to my own fold, while She drove hers to the fold of Laius. Is that right? Was it not so? True enough; though it was long ago. Come, tell me now--do you remember giving me a boy to rear as my own foster-son? What are you saying? Why do you ask me that? Look at that man, my friend, he is the child you gave me. A plague upon you! Cannot you hold your tongue? 5 P1511 OM «c. Do not blame her, old woman, your own words are more blamable. O XRC ' And how have I offended, master? OM Jh'ff' (LL. In not telling of that boyshe asks of. She Speaks from ignorance, and does not know what she is saying. If you will not Speak with a good grace you shall be made to Speak. Do not hurt me for the love of God, I am an old woman. Some one there, tie her hands behind her back. Two Chis 3MB 5‘ LLRC. HERDSMAN: OEDIPUS: HERDSMAN: OEDIPUS: HERDSMAN: OEDIPUS: HERDSMAN: OEDIPUS: HERDSMAN: OEDIPUS: HERDSMAN: OEDIPUS: HERDSMAN: OEDIPUS: HERDSMAN: OEDIPUS: HERDSMAN: OEDIPUS: HERDSMAN: OEDIPUS: HERDSMAN: OEDIPUS: HERDSMAN: 47 Alas! Wherefore! What more would you learn? Did you give this woman the childshe Speaks of? I did: would I had died that day! well, you may come to that unless you Speak the truth. Much more am I lost if I speak it. What! Would the woman make more delay? No, no. I said before that I gave it to her. Where did you come by it? Your own child, or another? It was not my own child-~I had it from another. From what house? From any of those here? Do not ask any more, master; for the love of God do not ask. You are lost if I have to question you again. It was a child from the house of Laius. A slave? Or one of his own race? Alas! I am on the edge of dreadful words. And I of hearing: yet I must hear. It was said to have been his own child. But your lady within can tell you of these things best. How? It was she who gave it to you? Yes, King. To what end? That I should make away with it. Her own child? Yes: from fear of evil prOphecies. OEDIPUS: HERDSMAN: OEDIPUS: HERDSMAN: OEDIPUS: ODE 4 CHORUS: 48 What prOphecies? That he should kill his father. Why, then, did you give him up to this old 0 “row 8 woman? GLOMQVL, Through pity, master, believing that she would carry him to whatever land she had come from--but she saved him for dreadful misery; for if you are what this woman says, youare the most miserable of all men. X0) All brought to pass! All truth! Now 0 light, may I look my last upon you, having been found accursed in bloodshed, accursed in marriage, and in my coming into the world accursed! (He rushes into the palace.) $X‘.+ D]... What can the shadow-like generations of man (583- “ WPRS attain Bleak-{0‘3 “) But build up a dazzling mockery of delight that under their touch dissolves again? Oedipus seemed blessed, but there is no man blessed amongst men. Oedipus overcame the woman-breasted Sphinx, He seemed like a Strong tower against Death and first among the fortunate; He sat upon the ancient throne of Thebes, and all men called him great. But, looking for a marriage-bed, he found the bed of his birth, Tilled the field his father had tilled, cast seed into the same abounding earth; Entered through the door that had sent him wailing forth. Begetter and begot as one! How could that be hid? What Darkness cover up that marriage-bed? Time watches, he is eagle-eyed, And all the works of man are known and every soul is tried. 49 Would you had never come to Thebes, nor to this house, Nor riddled with the woman-breasted Sphinx, beaten off Death and succored us, That I had never raised this song, heartbroken Oedipus! SCENE 5 (SECOND MESSENGER coming from the house.) Ch EMT—Cl" D1— SECOND MESSENGER: Friends and kinsmen of this house! What deeds must you look upon, what burden of sorrow bear, if true to race you still love this House. For not anything could wash this clean, so many misfortunes have been ,brought upon it, so many has it brought upon itself. CHORUS: Great already are the misfortunes of this house, and you bring us a new tale. SECOND MESSENGER: A short tale in the telling: Jocasta, our Queen, is dead. CHORUS: Alas, miserable woman, how did she die? SECOND MESSENGER: By her own hand. I cannot be as Ch XL terrible to you as to one that saw it with his eyes, yet so far as words can serve, you Shall see it. When she had come into the vestibule, she ran half crazed towards her marriage-bed, clutching at her hair with the fingers of both hands, and once within the chamber dashed the doors together begind her. Then called upon the name of Laius, long Since dead, remembering that son who killed the father and upon the mother begot an accursed race. And wailed because of that marriage wherein she had borne a twofold race-~husband by husband, children by her child. Then Oedipus with a Ch XDQ shriek burst in and running here and there asked for a sword, asked where he would find the wife that was no wife but a mother who had borne his children and himself. Nobody answered him, we all stood dumb; but super- natural power helped him, for, with a dreadful shriek, as though beckoned, he Sprang at the double doors, drove them in, burst the bolts out of their sockets, and ran into the room. There we saw the woman hanging in a swinging Ch XC CHORUS: 50 halter, and with a terrible cry he loosened the halter from her neck. When the unhappiest Ch Knee! woman lay stretched upon the ground, we saw (311 Plated-tn another dreadful sight. He dragged the golden brooches from her dress and lifting them struck them upon his eyeballs, crying out, "You have looked upon.enough those you ought never to have looked upon, failed long enough to know those that you Should have known; hence- forth you shall be dark." He struck his eyes, not once, but many times, lifting his hands and Speaking such or like words. The blood poured down and not with a few slow drOps, but all at once over his beard in a dark shower as it were hail. (The CHORUS wails and auasteps further on to the stage.) Such evils have come forth from the deeds of those two and fallen not on one alone but upon husband and wife. They inherited much happiness, much good fortune; but today, ruin, shame, death, and loud crying, all evils that can be counted up, all, all are theirs. Is he any quieter? SECOND MESSENGER: He cries for some one to unbar the OEDIPUS: CHORUS: OEDIPUS: gates and to Show all the men of Thebes his father's murderer, his mother's--the unholy word must not be spoken. It is his purpose to cast himself out of the land that he may not bring all this house under his curse. But he has not the strength to do it. He must be supported and led away. The curtain is parting; you are going to look upon a sight which even those who shudder must pity. (Enter OEDIPUS.) O ”War 131., ch x01. +- Miserable, miserable that I am? Where am I? he/P' Where am I going? Where am I cast away? Who hears my words? - Cast away indeed, dreadful to the sight of the eye, dreadful to the ear. Ah, friend, the only friend left to me, friend 713E, XC, still faithful to the blind man! I know that O Kneel you are there; blind though I am, I recognize lu'\x I-f your voice. 3 Pa (Om- CHORUS: OEDIPUS: CHORUS: OEDIPUS: CHORUS: OEDIPUS: CHORUS: OEDIPUS: CREON: OEDIPUS: CREON: OEDIPUS: 51 Where did you get the courage to put out your eyes? What unearthly power drove you to that? The Gods, but it was my own hand alone, wretched that I am, that quenched these eyes. You were better dead than blind. No, it is better to be blind. there that could give me joy? What sight is For all my pity I Shudder and turn away. Come near, lay your hands upon a wretched man; listen, do not fear. My plague can touch no man but me. Hide me somewhere out of this land for God's sake, or kill me, or throw me into the sea where you shall never look upon me more. CI- emu PR, X ate. and [and . (Enter CREON and attendants.) Here Creon comes at a fit moment; you can ask of him what you will, help or counsel, for he is now in your place. He is King. What can I say to him? unjust to him? Having been altogether I have not come in mockery, Oedipus, nor to reproach you. Lead him in to the house as quickly as you can. Do not let him diSplay his misery before Strangers. I must obey, but first, since you have come in so noble a Spirit, you will hear me. Say what you will. I know that you will give her that lies within such a tomb as befits your own blood, but there is something more, Creon. My sons are men and can take care of themselves, but my daughters, watch over my daughters, Creon. If it is lawful, let me touch them with my hands. Grant it, Prince, grant it, noble heart. I would believe, could I touch them, that I Still saw them. (ISMENE and ANTIGONE 1’... CI": can? and en‘l'u- 3L. 52 are led in by attendants.) But has Creon pitied me and sent my children, my darlings? Has he done this? CREON: Yes, I ordered it, for I know how greatly you have always loved them. OEDIPUS: My children, where are you? Come hither-- hither--come to my hands. I weep when I think of the bitter life that men will make you live, and the days that are to come. Into what company dare you go, to what festival, but that you shall return home from it not sharing in the joys, but bathed in tears? When you are old enough to be married, what man dare face the reproach that must cling to you and to your children? What misery is there lacking? That man is not alive; my children, you must wither away in barrenness. Ah, Creon, listen. Seeing that you are the only father now left to them, do not let them wander in beggary-- protect them. Show me that you promise, generous man, by touching me with your hand. (CREON touches him.) My children, there is much advice that I would give you were you but old enough to understand, but all I can do now is bid you pray that you may live wherever you are let live, and that your life be happier than your father's. CREON: Enough of tears. Pass into the house. C? 5+4“, XRC. OEDIPUS: I will obey, though upon conditions. CREON: Conditions? OEDIPUS: Banish me from this country. I know that nothing can destroy me, for I wait some incredible fate; yet cast me upon Cithaeron, chosen by my father and my mother for my tomb. CREON: Only the gods can say yes or no to that. OEDIPUS: No, for I am hateful to the gods. CREON: If that be so you will get your wish the quicker. They will banish that which they hate. OEDIPUS: Are you certain of that? CREON: OEDIPUS: CREON: OEDIPUS: CREON: ODE 5 CHORUS: 53 I would not say it if I did not mean it. Then it is time to lead me within. Come, but let your children go. No, do not take them from me. Do not seek to be master; you won the mastery C:p-+ ‘, but could not keep it to the end. (He leads ‘fl‘f DL. OEDIPUS into the palace, followed by ISMENE, ANTIGONE, and attendants.) N Make way for Oedipus. All peOple said, (5" Ch"‘ 'That is a fortunate man'; BWWS.) And now what storms are beating on his head! Call no man fortunate that is not dead. The dead alone are free from pain. 54 Chorus Blocking Notes Introductory Ode During the blackout a recorder is heard. A priestess enters from the palace with a candle. The lights come up, revealing a night scene with the citizens lying before the palace, mourning, moaning, or sleeping, and young woman playing the recorder. The priestess walks by each citizen, blessing them with an uplifting of the candle as she passes. She stOps by a young priest, and they pray together quietly. Still to recorder music, Creon enters from the countryside, looking for Oedipus. Oedipus comes from the palace and greets Creon. Creon pantomimes the reporting of a great plague which has ravaged the city, and Oedipus sends Creon off to the Delphic oracle to learn the remedy. At this point Jocasta enters seductively from the palace, embraces Oedipus, and lures him into the palace with her. The woman stOps playing recorder. The priest begins to walk by the mourning citizens to comfort them. As he passes they Speak of their sorrows in the words of the introductory ode. AS they speak, the priestess echoes them, staring into her candle. They all begin to chant the last line ("Death is all the fashion now, till even death be dead"), finally just chanting "dead, dead, dead," in unison, as the priest continues his walking. Oedipus enters from the palace to see how he can help his citizens. He StOps the priest to ask what he can do. The "Dead" chant fades away. Ode 1 Oedipus has just promised to solve the situation. The priest, eager for a remedy to the plague, grabs the candle and brings it center stage, kneeling on the altar and whiSpering "Apollo to his countrymen as an urgingto pray. They awaken, murmuring "Apollo" and crawling toward the altar. Slowly they gather around the altar kneeling and reaching upwards together, as the murmured "Apollo" grows into a loud, forceful chant. Finally the priestess, sings a gregorian-chant-like prayer (the words of the first Ode), as the citizens chant "Apollo" at the end of each of her lines. Together they Sing "Death is all the fashion now, till even death be dead." 55 Then, exhausted, they crumple over whiSpering "dead, dead, dead." From anguish, the whiSper becomes a chant and then a yell, as they stand and Spread away from the altar, reaching plaintively to heaven. AS they yell "dead," separate citizens yell out lines of the prayer again, everyone yelling together on the last line, and finally yelling "dead, Apollo, dead, Apollo, dead, Apollo" antiphonally. Entering to solve the problem, Oedipus breaks the frantic prayer by shouting "Thebans." The citizens fall attentively to their knees. 212.2. Oedipus, confused and defeated by Tiresias, leaves the Stage. The chorus is excited by the prOphecy that they will find the murderer, and the priest shows this by leaping onto the altar and shouting the vengeful words of Ode 2. The other citizens join him, echoing his last line, "All the gods and all the fates thunder at his back." Strong vengeful feelings often need a scapegoat or whipping boy. Pretending that one of the citizens, a middle-aged poet, is the guilty murderer, they drag him and throw him before the priest, as a young soldier beats a steady rhythm on the palace steps. They stylistically "beat" the poet, as each shouts a line of Ode 2 again. They echo "thunder at his back" as they "beat" him. As the soldier picks up the words of Ode 2 again, they drag the poet center stage onto the altar. Shouting the rest of the ode and echoing "thunder at his back," they run around him, flailing their arms in vengeful fury. Creon enters shouting ”citizens." They fall attentively to their knees. Ode 3 Oedipus and Jocasta, fearful that they may be guilty, have gone into the palace. The chorus, moved to fear the gods and disapproving of Oedipus' hubris, cringe against the pillars and gaze heavenwards. The poet Speaks of fearing the gods, in the words of the first stanza of Ode 3, then the priest criticizes Oedipus' pride, in the words of the second stanza. The priestess steps up to the altar and admonishes all to pray, saying "Obey Apollo." They all bow reverently and beat the floor with their hands, while she plays a rhythm on the calimba. Over this rhythm, the poet and priest repeat their stanzas, everyOne finally chanting "Pity the man too proud. Pity his mournful state." The 56 chant grows louder and more forceful until they all break off in silence. Then they bow again and whisper "Obey the sacred laws" and "Pity the man too proud" in antiphonal repetition. Jocasta enters to their whispered chant and presents an offering to the gods for Oedipus' sake. Ode 4 Oedipus, convicted and defeated, rushes into the palace to kill his mother-wife. The chorus and shepherd stare after him in amazement. After a pause, he screams from offstage. The young woman, who went into the palace with Jocasta earlier, begins to hum her recorder theme from offstage. AS the poet and soldier comfort shepherd and help her offstage, the priest steps to the altar and prOphetically blows out the candle. He Speaks about Oedipus' fruitless life in the words of the first stanza. The soldier, moved to Show pity for Oedipus, decides to have them all enact a mime of Oedipus' life. He pulls the poet center stage to the altar, throws the poets arms into a gesture, and whiSpers to him "Oedipus." The soldier then steps back and Speaks the second stanza, as the priestess and the poet stylistically enact the defeat of the Sphinx, the poet stylistically takes the throne of Thebes, and the priest, enacting a typical citizen, stylistically shows reverence to the poet. The priest then does the talking, as the priestess, enacting Jocasta, and soldier, enacting Laius, pull the poet by either arm (see Figure 5 in the "Documentation of Production" section). He frees himself and crumples in defeat, as the soldier talks of the "Marriage bed" and the priestess speaks of "eagle-eyed time." The priest Speaks compassionately in the last stanza, as the three circle around the poet. Ending by kneeling around him with their hands placed on his head, they repeat a whiSpered "Oedipus." The young woman's humming grows gradually into a scream. She rushes from the palace and begins her messenger Speech. Ode 5 Creon leads the blind Oedipus into the palace, the young woman and priestess following, each carrying a baby. The priest runs to the altar, commanding "Make way for Oedipus." The woman enters playing her recorder theme as she walks, priestess following. The priest muses philOSOphically "Make way for Oedipus." AS the citizens return to the positions in which they began the play, the poet 57 muses "All people said 'That is a fortunate man,'" the soldier states "Now what storms are beating on his head,: and the priest says ”Call no man fortunate that is not dead; the dead alone are free from pain." Now in their beginning positions, they chant the priest's last line, ending on a chant of the word "dead, dead, dead," as the lights fade and recorder music Stops. 58 Production Photographs 59 .homnmoum Hmcfim no: mumbfiamu mmammnfle "N Shaman .mpmmooh new mamauoo ”— mesmam 6O .vhonmmnm on» mmumwonnmpcfl msmfiuoo u: onsmflm , .mpmSOOb mpmmhm nomnmwwoz 6H0 "m Shaman I. ...- J‘. . d .. 61 .omda . .msmdvo . o HO O Ema w mpowno man one o sauna Human 62 «Henna: waaoaaan .msmflvmo mmnflnommu newcommmz kuo no um SASMH m 63 .uafino was muaon mamaumo .monoumi nomno m< m anamam .msmfiumo uaHHn on» unomsoo memNHpHo age "m madman 64 NOTE: As part of this thesis, the director has submitted a tape- recording of this OEDIPUS THE KING production to the Michigan State University Theatre Department. Such a tape will give the most accurate feeling for the Show. CHAPTER IV CONCLUSION AND EVALUATION Merits of the Project The director's goal is to teach and direct on the college level. Consequently a production-oriented thesis was needed, for a production-oriented M.A. student with a production-oriented career goal. It was good to be evaluated on one's own ground, where one is most involved. Writing up this thesis offered an Opportunity to organize one's own ideas and view them in a logical form. The director learned about his own thinking process for rehearsals, and grew to better understand his own mind as a creating director. Perhaps he will recognize the same trends in future directing and know better how to handle things. Directing a classic, which the director had never done, proved to be a profitable new experience. He now knows more about handling Greek tragedy and formal language. The project was a good experience in mixing many different parts of a production; pooling designers ideas; blending all into one style. A director works in a collective art, so the experience to "collect these arts" was welcomed. 65 66 Future Directions in Self Growth The directing in this production seemed successful, because the young actors reSponded well. In time, however, it is hoped the director will grow in certain areas. More tact could be used in talking to actors. Sometimes the director shared too much or was too honest, eSpecially when he occasionally shared one actor's faults with another. Sometimes he was too kind and did not criticize an actor heavily when he needed it, even if his character would benefit from it. Generally he was quite capable of keeping troublesome actors in line, and, in previous productions, has been known to cut an actor from a Show for disciplinary reasons. The director needs to relax a little about his shows. He cares a great deal about the success of his productions and is a perfec- tionist. DeSpite the dramatic freedom he gives actors, he is some- times too worried about the results, especially about OEDIPUS THE KING, the thesis being in the balance. It would aid his warm informal technique if he were more relaxed about the results. Perhaps this will come in time. Tackling a larger-scale Show, a musical with "a cast of thousands" for instance, would help the director in handling the varied parts of a large production and in blocking and planning for many actors. He has never directed a cast of more than eleven. 67 More experience directing Chekov, Shaw, Ibsen, and absurd drama would broaden the director, who has never worked in that style. Black drama is an area of ignorance for him as well. There are two thoughts--not faults, just traits--to relate about the director's style. One is that he needs the help of an assistant director, because he reaches a point in rehearsals when he just cannot perceive the play anymore. He uses the reactions of someone else as a sounding board, then molds the acting himself. During OEDIPUS THE KING he leaned heavily on the assistant director for reactions and insight. Secondly, he sometimes sits in rehearsal and just thinks for several minutes, trying to work out interpretive problems. This makes actors nervous at first, but they soon learn to bear with his thoughts and await further inSpiration. Further Thoughts on OEDIPUS THE KING OEDIPUS THE KING is an exciting play. It moves an audience in a heavy way, with suspense and intrigue. The first expositional scene is dry and dull, and the Tiresias scene deveIOps too slowly, with too much talk, making it difficult for an actor to build it forcefully. But for all that,it is a moving human drama. As set down in the "Production Planning" section, the play was to be projected more naturalistically and Simply than most attempts at Greek drama. It was approached from a very human, personal, simple vieWpoint, a naturalistic interpretation. The actors seemed 68 comfortable with this, but the more they rehearsed, the more grand and distant it became, stylistically. It just naturally seemedto drift into a bigger scale. That was the only way it worked, and that was the only right way to play it. That is not to say the director changed his mind; the result just surprised him a bit. The natural- istic approach may have made the actors more comfortable with their actions. That is one point in favor of the simple approach. MICHIGAN STRTE UNIV. LIBRRRIES 31293102839077